SFSA curate and programme no format Gallery. From November 2016 the gallery has a new home in a railway arch at Anthology Deptford Foundry.The gallery programme supports artists, craft makers and designers, curators, students,
local schools and colleges, and other arts organisations through exhibitions, talks, studio visits, and other events.
If you would like further information or interested in submitting a proposal please contact: Matthew Wood
firstname.lastname@example.org Tel: 07946554574
no format Gallery, Arch 29, Rolt Street, Deptford, London, SE8 5JB
Image: no format Gallery, Painting Open 2016
It’s like trying to describe an elephant by only looking at its tail
12 - 22 July 2017
Wednesday - Saturday 12:00 - 6:00pm
Private View Sat 15 July, 6:00 - 8:00pm
500 word stream of consciousness philosophy written on a train.
I am not interested in theory or intellectual self-indulgence. I am interested in my experience of the world and the thinking that arises from it: hope, expectations, failure, winning, never feeling that you have arrived, neurosis, dissatisfaction,
the feeling of sun on your body, walking through the forest, riding a motorbike, love, feeling others’ pain, aches and pains, delicious pleasures, jealousy, feeling hopeless, feeling confident, restricted, free, not wanting anyone near you, wanting people
near you, not wanting an online presence, wanting to work, but only exactly how you want to. Every real thought, feeling and emotion that is happening all the time, right now.
How can an artwork embody everything at once? It can’t, it can only reflect back, maybe that’s why there are so many mirrors in art. As soon as something specific is presented, it vastly narrows down possible interpretations, unless the forms you
use are signs for something else. If it’s about everything, it’s probably about nothing and that’s ok. Something universal, like the colour green.
The man-made form is a symbol for production, for striving and purpose giving. Endeavour not only to literally keep you alive, but providing a reason to be. Dedicating yourself wholly to something has a positive and negative side. You have justification,
but you’re missing out on everything else, like the classical musician or the surgeon are totally consumed by their practice.
For me, the mechanical form is the best example of a man-made form: extracted from the ground, the material re-shaped for a specific purpose. Designed, experimented upon, built on other people’s achievements, one mechanism upon another, like a watch.
A production line is built up on incredible scale, working in harmony to produce, just like we do, to produce everything we have, everything we use. For me it represents the process, not the end product as the significant part, as that is daily life, running
forward, for better or worse. The end product is too static, too limited and ordinary - our usual experience of an object. I want objects that change, I want motion, to capture something in mid-process; it’s more poetic, transitional, free, floating, ungraspable.
That’s why I draw it from video.
I first became interested in industrial buildings in Hull, carcasses of what once was. Exploring, photographing, experiencing, no paintings needed to be made (the moment was enough), but I didn’t know that then. Old industry that got us to where
we are now, I don’t care about the specifics of it, only how it can be experienced now. I don’t care about technology now, as I use it every day, I don’t need to know what’s inside a laptop, it’s a tool, you don’t think about it once you have the right tool.
Because I’m interested in process, I need to keep changing what I’m doing, the subject matter must be different every time, the emphasis different every time, the mood, energy.
As a painter you are constantly wrestling with nothingness and inevitably end up getting pulled toward the ether.
It’s like trying to describe an elephant by only looking at its tail.
Nicholas Dietrich May 2017